http://kdtechnology.tumblr.com/

it is true thou, what this anons say. at first i saw a post and i liked it.
then i saw you were filipino, me too as well. and i was like man you might be cool. so i followed.

then over the past few weeks, i've come to the conclusion. you really try way too hard. you really do. with all the gifs and "so-called" situations filled with gifs and ideas you stole from somewhere else.

it's fine thou. i don't really care but i'm just letting you know that you come across as someone who is reallly reallly trying very hard to be popular amongst people.

you blog to impress not express.
perhaps because you can't impress in real life?

idk. well yeah :)
gd day sir.

sooo goooood.

win

The Shining - Film Element

Text: Full Metal Jacket

Element of Media language: Visual & dialogue Symbolism

In Full Metal Jacket, Kubrick uses certain dialogues and visual objects to symbolize the afterlife and rebirth. A war film, many of these observations can be drawn from the symbols of dead soldiers and the surroundings.

During a scene in Full Metal Jacket, audiences see the lime covered corpses of Vietnamese soldiers and Crazy Earl’s dead North Vietnamese Army (NVA) “bro”. These corpses are not just symbolic of the shadow of the self, but also of an afterlife theme.

‘Today is his birthday”, Crazy Earl tells Joker. This statement and corpse of the soldier, made to look alive, is a symbol to this effect of the afterlife. The NVA soldier is ‘reborn’ through his death and will never really be dead. This is further evident during the rifle training, Hartman tells his recruits “You will become dead marines, and then you will be in a world of shit”. Here again we see the representation of death and the afterlife. Also mentioned by Hartman “The marine corps lives forever and that means you live forever.”

The symbolism of the afterlife can be seen through out the entire film with relative relations to both before the recruit’s transportation to Vietnam and at the training camp.

At the training camp, Pyle wakes the recruits in his platoon by his shouting and screams. As they awake the recruits creep about the barracks like the lime covered dead rising from the graves. Sleep in one way or another can be seen as a temporary form of death as it is to being really dead. The representation of them creeping like the dead is done by Kubrick on purpose to show audiences that there is an afterlife and the dead with walk again.

Probably the most apparent and visually significant symbol of the dead and afterlife is seen when the Lusthogs are hiding behind the concrete rubble as a camera crew proceeds to film them with the wreckage caused. Medics can be seen carrying injured marines on stretchers hurriedly from left to right. A dying soldier is carried past followed by an unusual marine who happens to be casually strolling in the midst of a potential sniper shot to the head! This marine has his head covered in white bandages and so are his hands. It is at this very point that the audio we hear changes to a babble of some sort, very much ghostlike. The film crew points the lens up at this soldier’s face, at which point a yellow flash can be seen in his camera. This ghost soldier waves at the camera; it is unknown whether he is acknowledging the camera team or the audience.

Kubrick not only used this theme of an afterlife and spiritual rebirth in Full Metal Jacket but also in his sci-fi ‘2001: A space Odyssey’. At first glance and as narrated in the movie the black monolith was a mysterious alien artifact. But pondering on it, some audiences happen to see it as doorway out of the universe. Upon rotation of the monolith it looks as if it is a cinema screen or at least a symbol of a screen. Those who were able to recognize it in some way were able to overlook the whole ‘alien artifact’ and focus on the fact that they have been reborn as a God or a director with their ability to control the movie and understand it through the monolith, much like an after life or a rebirth.

We now see the black monolith as a symbol for rebirth/afterlife and this can be traced back to Full Metal Jacket. Upon being fired at by the NVA sniper, Cowboy starts to die slowly from his wound. The camera here is positioned in a manner in which the building at the back appears to be black very much like the monolith. Furthermore with the Marines standing around Cowboy’s dead body, viewers can draw a conclusion that the composition is identical to that of the apes in 2001 huddling around the monolith. Cowboy is going through a ‘rebirth’ process and the symbol of the afterlife again here is evident. Just like Dave in 2001, Cowboy’s death has made him exit the film and into an afterlife dimension.

Upon initial viewing of Full Metal Jacket, one would find that it is conceptually simple and easier to understand as compared to other films made by Kubrick, however it is not! The Visual and Dialogue symbolism that were subtly inserted is vast with ranges from that of the child; Pile, Mickey Mouse; Senseless nonsense and stupidity of war, and Hell on earth /rebirth/ afterlife.

The symbolism left behind my Kubrick will not be apparent to the common moviegoer but like all of his other films, they were never meant to be easy to spot and understand. His artistry will forever live on in his films and those are a testament to his greatness.

Mohamed Sahdique Caubang

Words: 829

The Shining - Film Element

Text: The Shining 1980 (feature film)

Element of Media language: Settings; Mirrors

In the Shining, Kubrick uses mazes and mirrors in the background in order to create a sense of confusion, deceptivness and illusion. It is made obvious right from the very start of the film and allows for a more interesting picture.

Mirrors don’t have to be significantly obvious with the display of a real solid mirror it can be conceptually hinted at by many different kind of reflective areas or shiny surfaces. As mentioned, the mirror effect can be seen at the start of the film’s opening shot through the mountains. The stillness of the lake reflects and mirrors what there is to be seen. This stunning mirror image makes for a beautiful scene that draws the attention of audiences to feel a sense of calmness while marveling at nature.

The next usage of mirrors and symmetry can be seen when Danny speaks to Tony in the bathroom. With the camera zooming in of the mirror, we as audiences are not looking at the real Danny but instead a reflection of himself through the mirror. In here we see the mirrors as a form of warning, a way in which viewers are sort of prepared to see something important. The river of blood that Danny sees afterwards is just that. It can also be noted that these occurs similarly later on when Wendy sees the word ‘murder’ written backwards on the bathroom door through the use of a mirror. This notification of what was about to occur was important and if it were not for the mirror she might never have gotten the message.

When Danny curiously approaches the open damned room 237, we see a peak of the room into an open doorway .In here it shows 2 mirrors that are similarly doors themselves that lead into another room. From here it appears as though the room is a maze itself just like a mirror house and is constantly reflecting the opposite view in a bid to confuse those who enter. The mirror here gives viewers a sense of loss as to what is happening. It is just here that we see Danny come out injured and bruised without any explanation of what had happen, we are left to assume that the ghosts and spirits trapped in the ‘mirror house’ have taken their anger out on Danny.

It is said that through the mirror one can see into another dimension, something that is almost spiritual. When Jack enters room 237 to check out on the ghost that had hurt Danny, he enters the bathroom, which is filled with mirrors on opposite sides of the wall. Kubrick here takes on that other alternate dimension in which the spirits live through mirrors. The very fact that Jack discovers he was kissing the corpse of a decaying old lady through the image reflected in the mirror shows this whole alternate dimension. Viewers can come to the conclusion that perhaps the entire house is filled with ghosts that are able to enter the Overlook through the many mirrors within the house.

This connection between mirrors is not only reflected in ‘The Shining’ but also in ‘2001: A Space Odyssey.’ Having gone through the stargate, Dave finds himself staring directly into a bathroom mirror, with the close up of his face we see the reflection of the pipe in his helmet, which revealed that the camera had flipped over to the other side of the mirror. Dave existed in 2 parallel dimensions at once. Viewers see the usage of mirrors here as Kubrick’s way of suggesting that we can see a whole new different side of reality through a mirror.

In my opinion the settings of the mirror and reflections that it created, helped increased the mysteriousness and darkness of the movie. The myth about mirrors being a portal into another dimension intrigued me and I tried to draw as many connections between this myth and the way Kubrick had the setting of the movie done. His usage of mirrors in bathroom especially created a sinister subtle meaning that helped to promote the film as that of a Horror. Kubrick’s usage of mirrors especially in bathroom has become one of his trademarks and a signature of his work.

Mohamed Sahdique Caubang

Words: 713

The Shining - Film Reading

Text:  The Shining 1980  (feature film)          

Reading: Representation of Women

Kubrick is known to be an artistic and ingenious man, a legendary figure in the film industry. Like all great figures of history, Kubrick had a different take on the world. He ultimately understood that man were capable of great things, both good and bad. Unfortunately Kubrick chose to see the world from a cynical point of view. This really actually isn’t a misfortune but in fact reality and he has displayed this through his films.

Apart from showcasing the evils of man and their monstrosity in his films, he gave a representation of women that would have sent pro-feminists all around the world into a fit. This is evident through out all his films, with the various reprenstation that he gives them.

Having brought up during the early 1920s, this had an effect on the upbringing of Stanley Kubrick. It was during this pivotal time that the recognition of women was brought up and their role in society developed further. It is most likely this issue of women’s right that played an influence in the way he sees females.

In the Shining, Wendy plays wife to Jack Torrance and mother to Danny. Stanley Kubrick’s choice of Shelly Duvall has attributes to her physical appearance. She looks very thin, frail and gaunt throughout the entire movie. Her physical strength is weak as displayed by the ‘shakiness’ of her hand while swinging the bat at Jack. This suggests that Kubrick wanted viewers to see that women are physically the weaker sex. Scientifically true and proven, Kubrick enforces this idea towards the audience.

Apart from being physically weaker than her spouse, Wendy is essentially afraid of her husband. Whenever Jack raises his voice at Wendy, she would jerk her shoulders and her lips would twitch. In the Director’s cut of ‘The Shining’ we see a scene in which Kubrick tells Wendy to ‘jump’ slightly during the confrontation with Jack in the hall. Shelly’s acting was controlled by Kubrick carefully to display her fear of her husband. Signaling that the husband is in control and in power of her.

Male dominance. Jack is constantly in control of Wendy right from the very start, with the whole idea of staying at the Overlook for months. He is the breadwinner of the family, as I would take, as there has been no mention of Wendy having a job throughout the entire film. She had no say in the decision of spending their time in an isolated region. She simply willingly follows him into their eventual horrific experience. Jack controls her essentially and she willingly submits.

This is further highlighted by the fact that despite having been told of the ‘incident’ that took place in the Overlook previously, Jack made no mention of this to his wife. In the face of Stuart Ullman, Jack lies that “As far as my wife is concerned, I’m sure she’ll be absolutely fascinated by it she’s a confirmed ghost story and horror film addict”. Wendy was never informed and the situation kept a secret. As we all know, secrets should never be kept in a good relationship and as far as Kubrick was concerned, Wendy and Jack did not have one.

Love; there was no display of affection between the couple through the entire movie.  The marriage was weak and the only love perhaps that they both shared was for their son, Danny; which slowly deteriorated over time for Jack. There is no scene of them sleeping together apart from the knowledge that they did share a room. No sexual intercourse took place during their stay and for most of the time they were separated, with Jack in the hall and Wendy either looking after Danny or wandering the Overlook. This segregation of the female from the male shows that Jack was not interested in a ‘weak’ female who was neither sexually or physically attractive.

This is further evident in room 237 when Jack makes a move for the young nude blonde ghost in the toilet. He never kissed Wendy but he was readily eager to give the ghost a passionate kiss while caressing her waist. Her attractiveness and beauty drew Jack towards her and he would readily have slept with her. Wendy on the other hand is not beautiful and hence failed to please Jack. This blonde here displays the power of the female with their ability to make the opposite sex lust for them.

It is not just in ‘The Shining’ that Jack portrays beautiful women as objects of sexual desires. He does this in many of his other films such as a ‘Clockwork Orange’ where a scene of Alex having a sex marathon with 2 beautiful girls that he picked up at the record shop and also when Alex rapes the wife of an old man. During his initial rehabilitation, catcalls were made at his nurse in a bid to get her to sleep with him. The women here are seen as tools of pleasure and exist nothing more than to satisfy the urges and need of a man. Not just any female thou but one that is physically attractive and an eye pleaser. 

Despite the negative representation of females in ‘The Shining’, Kubrick still made it clear that they had a very vital play in their role as mothers. Protectors of their child, Wendy was an extremely defensive mother who cared tremendously for Danny. When discovering that Danny was hurt, she immediately blames it on Jack and calls him a ‘bastard’ for harming her child. Her emotions for her child are shown here and her protective instincts kick in.

Asking to allow a doctor to see Danny, Wendy was readily all right to sacrifice their stay at the Overlook to see that her child’s needs are met. When trapped in the room, Wendy grabbed Danny and rushed into the toilet to escape through the windows. She chooses Danny over her safety and wanted to ensure that he lives. The selfless Wendy puts Danny as priority and Kubrick’s representation of females here is that of a ‘motherly’ role. Which is a good representation with the selfless acts of courage and bravery.

Wendy is the last person standing and is saved from a horrific death; Kubrick makes this specific that the only reason for her survival was due to her role as a mother and the commitment that she should ensure to her child. Her survival is not because she is clever or strong but essentially because Kubrick believes that women should be the ones who take care of the children and his ‘indirect’ message to the audience is that the use of a female is nothing more than just confined to that of a mother.

I would like to have said that there is a balance between the representation of women and men throughout Kubrick’s film but it is clearly evident that the scale is tilted and favorable towards one side. It is for this very reason; many feminists choose Kubrick’s work as a topic of controversy to argue their cases.

It is still realistic though and I strongly believe in his idea that men will forever play a dominant role in society and women will always be represented on the lower scale despite how much development and contributions they have and will be making towards humanity. 

Mohamed Sahdique Caubang

Words: 1139

The Shining : Film Reading [Horror Themes]

Text: The Shining 1980 (feature film)
Element of Media Language: Usage of Horror Themes

Whenever someone mentions a horror movie, I instantly think of floating white cloaks and undead zombies. They had a huge influence on me when I was a kid, I’d hide under the blankets and make mum check my closet every night. Despite my fear of the boogey man, there was this unseen magnetic attraction between the paranormal and me. Curiosity would always get the better of me and I’d end up scaring myself shitless at night. This fear gradually disappeared, as I grew more intellectual with age, gone were the days that Scooby Doo episodes left me afraid of the dark. However, every once in a while a movie comes up out of nowhere and brings my knees to the ground with fright. An example of this would be Stanley Kubrick’s ‘The Shining’ one “of the greatest films in the history of cinema” as claimed by Dave Shaw of houseofhorrors.com

Upon closer examination of ‘The Shining’ and its script, it can be seen that this horror film has drawn various inspirations from almost every classical horror film to date. Simply put, ‘The Shining’ is an ‘encyclopedia’ of horror themes.

Obvious to audiences, the basic plot is of a haunted house filled with ghosts, which is actually quite common for most horror films. It is within this haunted house does Kubrick pack all his themes into one.

The mishaps that happen within the hotel can be traced to Jack’s descent into insanity. Jack may have appeared a normal person outside of the Outlook in the interview but a whole new side of him evolves upon arriving. After consumption of alcohol we see a different side of Jack, in this way, it’s sort of like the story about ‘Dr Jekyll and Mr. Hyde’. Alcohol here is the magic drug paralleling Dry Jekyll’s experimental potion. He is the aftermath of this consumption, and Mr. Hyde is Jack’s former self, a side that used to be in control. Similarly Dr Jekyll has always been a part of Jack, but suppressed.

Folklore, Werewolf. During Jack’s descent into madness he not only changes his personality but into something that is almost ‘animal’ like, inhuman. His speech deteriorates from coherent & sinister into grunting and moaning towards the end as seen during his chase after Danny. Apart from that further references to wolves can be made such as “Hair of the dog that bit me” during his conversation with the ghostly bartender and “Little pigs, little pigs” followed by “not by the hair of your chinny-chin-chin?” with Wendy. It is clearly seen here that Danny has turned into a werewolf like character.

Danny wields a mysterious power known as ‘the shining’, in the film it is notable that only males posses such a power and this ability can be likened to that of witchcraft & wizardry. As far as history goes, witchcraft has always been damned and in this way we see Jack as the religious witch hunter and his son Danny the witch. Jack persecutes Danny because Danny ‘shines’. We can see this work in different ways thou, it could also be that Jack may be an evil sorcerer himself with his hallucinations and communication with the spirit world. Only Kubrick would know what his intention here was but that secret he took to the grave.

Lloyd the bartender with his slick gelled back hair, smooth talk and sinister appearance reminds me of Count Dracula. With the way he stares at Jack and a hint of Romanian accent, I immediately took him to be very frightening indeed. Although there is no ‘blood sucking or drinking’, a reversal perhaps, the Vampire is the one that is doling out fluids a.k.a ‘blood’ and converting Jack into a vampire too. This ‘recruitment’ can also be seen when Delbert Grady makes Jack his successor. Then there is the Overlook Hotel, all remote and high up a cliff, just like Dracula’s castle. A western version perhaps instead of eastern, where Dracula came from.

There is also the root of all evil, ‘The Devil’ himself. Satan himself has a firm grip on the mind of Jack Torrance. The temptation of alcohol can be seen here as taunted by the Devil himself. Jack makes confirmation that he would very well join the dark side in his fall to temptation. He makes a Faustian bargain with the Hotel & the devil by saying “I’d sell my goddamn soul for a glass of beer.”

Up to date all the films that I have viewed so far have not been able to fit in this many hidden, sub-texts and usage of classical horror themes into one piece of film, just the way that Kubrick has done.  This interesting concept of involving other horror themes is a unique concept that Kubrick himself could only have been able to imagine. Sure, there are films nowadays that draw inspiration from classics such as “ The Wolfman (2010), Twilight (2008) and Blood: The Last Vampire (2000). However they all incomparable to what Stanley has done. The fact that he did not make all these apparent to a normal individual but the subliminal and subtle ways in which he hides from viewers is really incredibly brilliant.

This may have not been the typical horror genre of movies during that period of time. Especially in the sense that this film was more intellectual based than it would have appealed to the masses as Kubrick did not effectively follow the tradition of normal horror movie. Despite this, it broke boundaries on what a horror film really is and has mentally challenged me to accept what should have been horror.

Watching this film, I’m reminded of all the horror movies that I grew up watching, Nosferatu, Dr Jekyll & Mr. Hyde and such. After watching for the first time and realizing the classical themes, Kubrick has made me watch it over and over again in order to explore the different hints that he has dropped along the way and this reminder of all my childhood fears kept me on edge and believe it or not, I’ve been sleeping with my nightlights on once again.

Mohamed Sahdique Caubang

Words: 1033